Survive The Walking Dead - TWD Spinoff
by dave-lieb
Summary: Survive the walking dead is the story of what happens decades after TWD series. It tells the story of how the survivors bring the world back to a functional society after the terrible things they have done.


**SURVIVE THE WALKING DEAD**

" **Pilot"**

 **Written by**

 **David Lieberman**

April 13th 2017 Draft

Copyright © 2017

 **TEASER**

FADE IN:

EXT. EMPTY ROAD (GEORGIA) - AFTERNOON

Post-apocalyptic wasteland. The world is an overgrown, deserted mess.

A solo zombie aka "walker" drags itself along the highway.

The world is devoid of signs of life. At first view it appears all the humans have died or turned.

CUT TO:

Montage of "The Walking Dead" history of locations.

The hospital where Rick woke up into the new world is damaged from multiple explosions and gunfire.

CUT TO:

The prison is missing the gate and portions of the walls have deteriorated and crumbled.

CUT TO:

Hershel's farm has rotted, the windows are blown out.

CUT TO:

Terminus has been destroyed. New graffiti crossing out "Those who arrive survive" to "Cannibals!".

CUT TO:

Alexandria looks like a warzone all the homes have been burned badly. Windows blown out. No signs of life.

CUT TO:

Present Day

EXT. GEORGIA HIGHWAY I-16

A military airplane zooms across the cloudless sky. The plane emits a high decibel siren.

EXT. GEORGIA HIGHWAY I-16 - (continuous)

Thousands of walkers follow the sound.

A jackknifed tractor trailer blocks one side of the highway. The other side is a graveyard of abandoned cars.

The walkers slowly navigate their way around the cars and trailer. Engulfing the highway.

EXT. TOP OF TRACTOR TRAILER - AFTERNOON

A MAN lays on his back with a hat over his face. He has a gun holster around his waist.

The walkers drag and growl their way past him.

The man adjusts his had to observe the plane; revealing his eye patch and thick beard.

SMASH CUT TO:

Opening Credits

 **ACT ONE**

EXT. GEORGIA NEIGHBORHOOD STREETS - MORNING

Draped in filthy clothing and wearing a dingy old sheriff's hat, a lone man approaches a walker. The man carries: a revolver holstered on his hip, knapsack on his back, compound bow and quiver hanging off his shoulder.

The man is CARL GRIMES (38) a lean and tireless man who has endured a nightmare life.

Carl unsheathes a machete.

MAN WHISPERING (V.O.)

Turn it on Carl.

Carl dispatches the zombie with elegant ease.

Carl walks on alone in search of something. At the edge of the road there is a figure of a man calmly walking away from him. Carl quickens his pace to catch up to the man.

RICK GRIMES (V.O.)

(Voice is clearer now)Turn it on Carl.

Carl shakes off the voice, twitches again slightly and goes from quick walking to jogging. He keeps a steady pace to not lose any arrows from his pack.

Carl runs past all the clutter along the road finally arriving to the back of the man walking. Carl charges in a full leap at the figure missing him and landing face down on the pavement.

The figures face is obscured by the bright sun directly behind his head. He lends out his hand to help up Carl.

RICK GRIMES

Come on Carl. You need to turn it on.

Rick stands over his son with his arm extended to help him up. He leans out of the sun showing his face and creepy big smile.

RICK GRIMES

I know you want to use it. So why don't you do it already?

Carl climbs to his feet.

CARL GRIMES

(Yelling)

You are fu….you're crazy! I told you. I don't need you anymore. What are you still doing here?

Rick keeps smiling and shakes his head no.

RICK

No, I'm not...Son, just turn the damn thing on.

CARL

Why do you keep showing up? Can you tell me anything useful?

RICK

Turn. It. On.

CARL

Go. To. Hell. (beat) Where is she? She's been gone for weeks at this point. I know you know where she went.

Carl turns his back on his father.

RICK

If you just…

CARL

(Cutting him off) No goddamnit! WHAT DID YOU ALWAYS TELL ME? DON'T TRUST ANYONE OR ANYTHING! (pause) That's not the answer. Even now you are full of shit. LEAVE ME THE HELL ALONE! (Screaming to the point of his neck veins bulging)

Carl turns around, opens his eyes back up while screaming at Rick and when he comes 180; Rick is gone.

CUT TO:

 **ACT TWO**

25 YEARS EARLIER - WASHINGTON DC

EXT. DULLES INTERNATIONAL AIRPORT - HAZY MORNING

Dozens of men and women professionally dressed are scrambling on the tarmac to get into a 747. They are rushing and panicked as they all spill into the plane. As the last person gets in they reach over to the controls of the portable gangplank; shifting it away from the plane. He seals the door closed.

INT. COCKPIT - MORNING

The pilot and co-pilot go through their pre-flight checklist expeditiously.

The pilot of Air Force Two is HARRISON GRAUER (62) a seasoned pilot. Full head of silver hair. He is dressed in his uniform and has the stone look of pure confidence. He's got 20 million plus miles under his belt in the air.

HARRISON

Prep systems check. Ready when you are. Read them off Gordon.

The co-pilot is GORDON WEISS (47) slightly disheveled brown hair. He's flown with Harrison for the past 5 years and these two are clearly comfortable working together.

They start snapping back and forth at each other their pre-flight check. Gordon is clicking the equipment console.

GORDON

Ready sir.

HARRISON

Altimeter?

GORDON

Check!

HARRISON

Flaps?

GORDON

Check!

HARRISON

Fuel?

GORDON

Check!

HARRISON

All primary systems?

GORDON

All systems check, sir!

HARRISON

Tower, this is AF2. Requesting immediate permission to push.

INT. MAIN CABIN - AFTERNOON

Passengers prepare themselves for takeoff. What's left of the flight crew is inspecting the plane, verifying doors are sealed and ready for departure.

INT. COCKPIT - AFTERNOON

TOWER (V.O)

AF2, this is Dulles tower. You are clear to depart from runway one - zero. Copy?

HARRISON

Copy Tower. Heading to runway one - zero, over.

Harrison glances down at his flag man who is guiding him out. As he begins to throttle the engine in reverse a flood of walkers explode out of the airport onto the tarmac, where they tackle and devour him.

HARRISON

JESUS HAROLD CHRIST!

GORDON

What?!

Gordon leans over and looks out the window.

EXT. TARMAC - AFTERNOON

The walkers claw their way towards the moving plane. Some move up the portable gangplank and blindly fall off. As the plane turns it hits the edge of the stairwell platform where a walker grabs onto the door handle.

INT. COCKPIT - AFTERNOON

GORDON

We need to push now sir!

Harrison nods yes but unblinking watching in awe as the terror builds outside. They can hear the thuds on the exterior of the plane.

GORDON

Sir?

Harrison is frozen.

GORDON

Sir!?

Harrison still doesn't turn. Gordon shakes his shoulder.

GORDON

Harry! Come on buddy. We have to go now.

HARRISON

Shit. Full reverse throttle.

EXT. TARMAC - AFTERNOON

The plane begins to move in reverse squishing walkers and knocking over baggage carts. They manage to straighten the plane out to push forward.

A walker advances his way up towards the windshield.

INT. COCKPIT - AFTERNOON

HARRISON

Full throttle.

GORDON

Do we have enough clearance to take off? Runway 10 is way the hell over there.

HARRISON

Son, we're not waiting around to taxi. (He calms himself down slightly). Tower, this is AF2 requesting alternate departure runway.

No response from the tower.

HARRISON

Tower, I repeat. This is Air Force Two! Requesting alternate departure runway. Do you copy tower?

No response from the tower.

They both look out their left window towards the air control tower.

EXT. AIRPORT CONTROL TOWER - AFTERNOON

The windows break and both human and walkers jump out of the windows to the ground. The walkers get up and keep seeking out the living.

INT. COCKPIT - AFTERNOON

GORDON

Shit. Shit. Shit. Just go Harry!

Harrison straightens out the plane and pushes the throttle to the top. He drives the plane down the taxi runway like a car. He turns a few times to avoid a gas truck and baggage cart.

EXT. END OF RUNWAY - AFTERNOON

Towards the edge of the runway, a woman runs away from a group of walkers. The plane heads directly toward her. She waves them down to get them to stop and pick her up.

INT. COCKPIT - AFTERNOON

GORDON

Sir, do you see…?

HARRISON

No. I don't see her...and neither do you.

Harrison keeps his eyes on the horizon with a cold blank stare, pressing the stick forward until they're airborne. Gordon's face has gone white.

EXT. END OF RUNWAY - AFTERNOON

WOMAN

(Cries) Oh my god! Please. Please. Stop. Help me!

The plane takes off over her head. The jet loss lifts her up off the ground tossing her a hundred yards down the runway. The walkers persist at her. She's clawing her away from them but she's too slow. They attack her with no mercy while she's still on the ground, crying in agony.

INT. COCKPIT - AFTERNOON

GORDON

Well, we made it.

HARRISON

No we haven't, not yet anyway.

EXT. PLANE IN EMPTY SKY - AFTERNOON

The plane is flying off into the horizon over the empty D.C. skies.

CUT TO:

 **ACT THREE**

Georgia - Present Day

EXT. GEORGIA CAMPSITE - (earlier same day) EARLY MORNING

Carl wakes up in a small makeshift campsite at dawn. The campfire is giving off little smoke and heat at this point. Carl stomps it out with his foot and readies his pack, gear and weapons. His main weapon is a compound bow. The revolver on his hip is an empty memento of his father.

Carl spits in the fire and hears the subtle sizzle sound.

FAINT MECHANICAL SOUND IN THE DISTANCE

Carl stomps the fire and spits again but the noise persists. The sound is growing louder and closer.

Carl quickly grabs his bow and runs toward to road. There haven't been cars for years at this point.

CARL

Impossible. It's just impossible.

AIRPLANE PROPELLER GETTING CLOSER

There are no moving cars or vehicles of any kind in sight but the sound persists. Carl hides in the tree line by the empty country road.

The only thing moving is a solo walker dragging itself towards the sound. Away from Carl.

EXT. SKY ABOVE GEORGIA ROAD - MORNING

A bomber plane thunders over the Georgia countryside.

EXT. GEORGIA ROAD - (CONTINUOUS)

Carl finally sees the plane incoming overhead. He hasn't seen an airplane in over two decades. As the plane approaches Carl is frozen in shock.

CARL

What the hell…?

The walker glares up at the airplane tracking the noise. Carl does not take advantage of the distraction to kill the walker. He too is in a trance of the airplane.

CARL

Must be dreaming.

Dozens of walkers come out of the forest and woods chasing the sound coming from the sky.

Carl turns away and starts to run. He's completely outnumbered.

 **ACT FOUR**

25 Years Earlier

INT. AIR FORCE TWO - LATE AFTERNOON

Everyone on AF2 sits nervously, some are crying. A few men in crumpled suits are whispering at each other while a dominating man paces the aisle.

The Presidential Seal emblem is on the headrests of every chair.

Sitting on the aisle is ARLIN STUMPTON (55) the Republican Senator from Virginia. He's a tall slender man with entitlement and politics all over his demeanor. For the first time in his professional career he has stubble on his chin and is clearly uncomfortable with it.

ARLIN

(Huffing/frustrated) I'll explain it for the millionth damn time. At the current rate of exposure, we witnessed, we've been told by the CDC that all life will be dead in less than 6 months. It's too late to self-righteously over-confirm with doctors and biomed pharma consultants.

The Vice President, JAMES LYNCH JR. (63) obsessively strokes his head as he paces the aisle, trying to find some calm. Short balding grey hair, potbelly hanging over his belt.

LYNCH

Go easy Arlin.

HEIDI EFFROW (36) is the VP's assistant and advisor. No jewelry or make-up will ever be found on her. The political scene has been her entire social world in D.C. since she graduated.

HEIDI

Senator, why is it too late? Can't we just call or email these groups?

ARLIN

Sure, call em. They won't answer. Cause they're all dead sweetheart or they've fled to hide.

LYNCH

Calm down, everyone. Arlin, I get it. I also understand that Australia was the first to react. Which is why we're heading there now. Protocol right? We need to know how they knew.

ARLIN

I don't have an answer for you sir. I have a concern about it though.

LYNCH

A concern? What I'm more concerned about than anything at this particular moment though is this. We had the reciprocal protocol with the Brits and they just shot down the President of the United States. (long pause) The world as you know it Arlin, it's not over, it's gone.

All the passengers sit there in silence. No one had an answer. The television in the main cabin is tuned to CNN. A red banner scrolling at the bottom of the screen.

"EMERGENCY BROADCAST SYSTEM ACTIVE- SEEK IMMEDIATE SHELTER. AVOID ALL CONTACT WITH INFECTED. SYSTEMS WILL RESUME SHORTLY. EMERGENCY BROADCAST SYSTEM ACTIVE - SEEK IMMEDIATE SHELTER. AVOID ALL CONTACT WITH THE INFECTED. SYSTEMS WILL RESUME SHORTLY…"

ARLIN

Sir, I'm sure they are just like the rest of us. Scared shitless. Let's just pray they hold to the agreement and allow us to land.

A few of the passengers are crying uncontrollably. All of them are in shock.

Lynch paces around the half empty plane. He turns and stomps his way to the cockpit door, banging on it with his palm.

Gordon cracks open the door. The color is starting to come back to his face.

INT. COCKPIT - AFTERNOON

LYNCH

What is our ETA?

GORDON

About 11 hour's sir. We've just cleared over Hawaii and we're starting the long pass.

LYNCH

Radio contact?

GORDON

Nothing yet on the long range system, but when we're about an hour out we should have something.

LYNCH

The second we have radio contact you come get me.

GORDON

Yes sir...Mr. President.

LYNCH

(Shaking his head in hesitation) Don't call me that please.

GORDON

Of course. Sorry sir.

Lynch closes the door and stands in the corner alone holding his face in his hands.

He starts muttering to himself.

LYNCH

President of what?

 **ACT FIVE**

Present Day

EXT. GEORGIA ROAD - MORNING

The airplane flies directly overhead. Carl stops running and stares up in amazement. We can hear his heartbeat quickly thump over his breath. He's still in shock and is not showing any emotion over his face.

Carl starts to chase through the woods after it. The walkers are all chasing too.

As the plane reaches the horizon and it is too far to catch up with, the plane releases dozens of large wooden crates. Parachutes deploy as the crates sail towards the ground.

Carl runs toward the crates landing area. Navigating the woods with expertise he finds a single crate nearby. It's hanging by its parachute off a tree limb. Innate reflex takes over as Carl fires an arrow at the chute lines.

The crate comes crashing down at the base of the tree. Carl runs to see what supplies are inside that he can salvage.

Out spills dozens of small black receiver radios. He sifts through them looking for food, ammo or anything useful. He has no need for 100 radios.

He drops his gear and climbs the tree to retrieve his arrow. He snatches it out of the tree and climbs back down putting it away. Showing that he's only got 4 arrows left.

Disheartened, Carl tosses through the pile of radios. No other surprises.

RICK (V.O)

You're finally saved. Turn it on.

Carl ignores the voice. He drags the crate and its contents towards a thick, large bush and covers it.

RICK (V.O)

Turn it on.

Carl looks like he's gone crazy. Not knowing what is reality and hallucination. He tosses one radio into his pack.

Walkers converge on his area. Carl runs deeper into the woods. Passing by other crates dispersed everywhere around.

Some are cracked open by the impact. They all only contain radios.

Carl keeps running. The dozens of walkers have turned into hundreds as they've all heard the airplane engine overhead. They are heading directly towards Carl.

The walkers trample over the crates and radios; destroying anything on the ground.

 **ACT SIX**

25 Years Earlier

INT. AIR FORCE TWO - EVENING

No one has said much on the flight. VP Lynch walks towards the rear of the plane. In the last row, sitting alone is ADRIANA DECLAUS (29), a knobby-skinny African American woman who has buried her face into a pile of paperwork.

LYNCH

Mind if I sit?

Adriana adjusting her glasses looks up at VP Lynch.

ADRIANA

It's a free country.

Lynch lifts a pile of paperwork, sits and plops the stack into his own lap.

Adriana goes back to sifting through the files.

LYNCH

In all the bustling to get out of D.C. I didn't even think to see if you made it out. (pause) And not to be a horse's ass but honestly to see if all this made it out.

Lynch taps the top of the stack of files. Adriana hardly acknowledges him.

Lynch waits uncomfortably for a response.

ADRIANA

(Staring at her work)

All due respect sir but you're the Vice President of the United States. Technically now the President. I'm working on finding the one thing that could let us possibly understand what happened and how to stop it from spreading any further. And maybe, just maybe an antidote. Do you want to quit the foreplay and get to it? (beat)

Adriana finally looks up at him dead square in the eyes.

ADRIANA

It's not all here sir. I got most of the reports and there is plenty of valuable info but…

LYNCH

But what?

ADRIANA

There must be two thousand reports here. I can only read so fast.

LYNCH

That's just not good enough. Or technically, useless. (Shaking his head). No this just won't do.

Adriana is taken aback. She's about to defend herself when Lynch clears his throat and grabs the PA microphone.

LYNCH

Everyone listen up. I know we're all scared right now but we have to think and work together. We were all smart enough to get where we are. So I'm pretty sure you all can read. (He pauses and looks at Adriana) Everyone is going to stop crying and help Adriana here.

None of the passengers budge.

LYNCH

We are going to read through this collectively to figure this out. Any questions? (pause) No? Good. Get your asses to work.

Lynch drops the PA and snatches up a pile of paperwork from Adriana. Everyone meekly takes a small pile from him and begins reading.

CUT TO:

 **ACT SEVEN**

EXT. WOODS (GEORGIA) - MORNING

Carl resumes tracking where he left off. There's a large group of humans running through the woods chasing the direction of the plane.

Carl crouches down to stay out of sight and undetected. The three dozen survivors pass him quickly except for one teenage boy about 16 years old. The boy resembles a Neanderthal. He doesn't speak. He only points and grunts.

The boy slows his run and quickly stops. He sniffs the air and turns to face Carl directly.

They lock eyes and Carl steps out of his hiding spot.

The boy has a handmade weapon. A long stick with a short blade strapped to the end of it. The blade and stick are covered in dried blood as is the boy.

The boy makes a grunt sound at Carl and motions with his stick for Carl to further out to the open.

CARL

You'd better catch up to your group.

Carl draws an arrow into his bow halfway cocked. The boy doesn't budge. He only grunts louder and makes a stabby motion with his stick.

CARL

Move along or you'll get hurt.

The boy charges at Carl while letting out an attack shriek.

In two swift motions Carl pulls the remaining portion of arrow all the way back and lets it fly into the boy's face.

Zero hesitation.

Carl walks over and pulls the arrow out of the kids face.

CARL

You were warned. Twice.

RICK (V.O.)

You're going to wish you didn't do that one. Why don't you turn it on?

Carl slips away muttering to himself. Trying to shake off his father's voice in his head.

Carl heads down a makeshift path. Towards the clearing he sees a woman. Her face is obscured by the leaves and overgrowth. He readies his bow. Slowly and in complete stealth he advances towards her.

We don't need to see her face. By her dreadlocks, katana blade we know it is Michonne.

MICHONNE

Why haven't you turned it on yet? What are you afraid of?

CARL

Where is she?

MICHONNE

Carl, you're smarter than that. (beat) You lived when we…

CARL

(Angry) No, no, no. I survived. I haven't lived! Where is she? (demanding)

Michonne turns and smiles at Carl. She sighs at how hard and rough he looks. The 'tsk tsk' comes through in her expression.

MICHONNE

If she left again. She has her reasons. If you just turn it on. (sighs) Rick knows what he's talking about.

Carl lets out an insane laugh. He's lost his mind and knows he's talking to no one but this doesn't stop him.

CARL

Why? (pause) The world is gone. I gave up hope a long time ago. Right around when I had to...Forget it. Tell me right now where my sister is!

MICHONNE

If I had to guess she's anywhere, I'm sure she went back to the toucan. Shhh, do you hear that?

Michonne quickly draws out her blade while Carl spins around seeing a walker coming up behind him.

Carl whips out his machete and takes its head off.

CUT TO:

 **ACT EIGHT**

INT. AIR FORCE ONE - LATER

Passengers pour over the paperwork.

One of the younger survivors, an Asian woman GRACE NG, still has her post college youth and good looks. Not young enough to be an intern and not old enough to have been tarnished by the gritty world of politics yet. She reads and rereads a blue docket.

GRACE

(Sheepishly) Ummm. Sir?

Grace makes her way over to VP Lynch. Everyone ignores her in their manic flurry to continue reading.

GRACE

(Persisting) Mr. Vice President? I have something you need to see.

The rustling of papers and quiet mumbling comes to a halt. Lynch takes the paperwork from Grace and starts to read aloud.

LYNCH

(Muttering) nucleo-enzyme protein...microbe system failure...blood borne pathogen high contamination level exposure contact.

Lynch drops the papers to his lap and shakes his head.

LYNCH

We've known all this Ms. Ng, I was part of the briefing three days ago.

Grace persists and points to the bottom of the page.

GRACE

Sir, read the bottom sentence please.

Lynch reads to himself.

LYNCH

Holy goose shit (clearing his throat).

Lynch pops out of his chair, kisses Grace on the lips and heads towards the cockpit.

LYNCH

Arlin, get the C.D.C. or W.H.O. in Sydney on the line! We have to get this to them.

Arlin heads towards the office/lounge area and starts sifting through a binder for government numbers.

INT. COCKPIT - BEFORE DAWN

Lynch knocks on the door. Captain Harrison opens it up.

HARRISON

Sir?

LYNCH

Radio contact?

HARRISON

Nothing. No contacts anywhere actually. We will keep trying. No other contacts on the radar.

LYNCH

If the tower is down there has to be another way to contact them. What is our ETA?

HARRISON

A little over two hours. What are we going to do sir? (Whispering) If they threaten to shoot us down? Where are we going to go?

Lynch grins slightly. Finally thinking he has a bargaining chip.

LYNCH

They'll want to talk to us...and that is all the leverage we'll need to land.

 **ACT NINE**

EXT. GEORGIA BACKYARDS - AFTERNOON

Carl makes his way through old backyards of deserted homes. He passes a few walkers that are stuck on spooled up barbed wire and fences.

In the yard of the house across the street is a tree with empty green, brown and clear bottles hanging from string. They are softly clanging against each other.

Carl approaches the porch as it creaks. Carl kicks the bottom of the door a few times and waits for any walkers.

INT. ABANDONED HOME - AFTERNOON

Carl pushes the door open. It appears empty.

CARL

Jude? Hello?

Carl pulls his machete out and searches for signs of anything.

The house is empty. Carl drags out a chair in the kitchen, tosses his bag on the table. He looks at the cabinets and sees the box of 'Fruit Loops'...the toucan aka "Toucan Sam".

LAURIE GRIMES (V.O.)

She's not here.

CARL

Neither are you. Carl readies his bow.

Carl's mother, LAURIE walks around into the kitchen. Carl releases the arrow that flies through her into the wall. She hasn't aged in the 20 years. This is the ghost of his mother.

LAURIE

You missed.

CARL

You're dead. Why can't you leave me alone?

LAURIE

True story, I am dead. You are not though. So why don't you put that down. (beat) It's not your fault you know?

Carl fights off his tears and choked up throat.

CARL

That doesn't undo it. (pause) She's my responsibility. She's been my responsibility…

Laurie walks closer to Carl. He turns his back to her.

LAURIE

She's a grown woman and you're a grown man.

CARL

I'm a monster. The things I've done. There's no going back for me.

LAURIE

Don't say that. Don't think like that. Of course there is. You need to listen to your father. You need to turn it on.

Carl takes out the radio and puts it on the table.

Rick walks into the kitchen.

RICK

She's right Carl. Do it.

Carl pushes away from the table. All the people he's known start to walk into the kitchen. Michonne, Shane, Hershel, Daryl, Beth, Morgan, Glen, Abraham.

Carl closes his eyes and stomps around shouting.

CARL

NO. NO. NO. NO. Get out of my head. What do I have to do to get you to stop? (screaming)

Carl opens his eyes. Everyone is gone and all he sees is the radio on the table. He flips the on switch.

RADIO

(static)

Carl shakes his head. Riddling himself with guilt, that he actually thought it was real. He knocks the radio to the floor and heads to the door.

RADIO

(Two piercing-squawking beeps) Message repeats. Emergency broadcast system active. Notice: all survivors head to Cape Canaveral Florida. National distribution of antidote commencing. (static)

Carl stands frozen staring at the kitchen.

RADIO

(Two piercing-squawking beeps) Message repeats. Emergency broadcast system active. Notice: all survivors head to Cape Canaveral Florida. National distribution of antidote commencing. (static)

Carl picks up the radio.

RADIO

(Two piercing-squawking beeps) Message repeats. Emergency broadcast system active. Notice: all survivors head to Cape Canaveral Florida. National distribution of antidote commencing. (static)

CARL

I'll be damned.

Carl takes the radio outside and stares up at the empty skies.

CUT TO:

 **ACT TEN**

INT. SYDNEY INTERNATIONAL AIRPORT (S.I.A.) - COMMAND TOWER - LATE MORNING

Air traffic controllers are busier than usual. They are all at their monitors clicking away.

Flight controller KRISTIN TOMMASI (38) a burly large woman getting frustrated with denying pilots requesting landing permission.

EXT. SKIES OVER SYDNEY AIRPORT - LATE MORNING

The skies over Sydney are packed with planes circling the airport.

INT. S.I.A. TOWER - LATE MORNING

TOMMASI

I repeat United 1745 you do not have permission to land at any runway. Please re-route to an alternate location.

INT. S.I.A. TOWER - DIRECTOR'S OFFICE - LATE MORNING

The television in the director's office is tuned to CNN broadcast.

CNN BROADCAST

(On display in red ticker at the bottom of screen) EMERGENCY BROADCAST SYSTEM ACTIVE - MASSIVE OUTBREAK OF FATAL INFECTION. NO CURES AVAILABLE. ALL NON MILITARY AND EMERGENCY PERSONNEL RECOMMENDED TO STAY INDOORS AND AWAIT FURTHER INSTRUCTIONS. "(Message repeats)

The air control director AMIR VATBRHAMA (30's), a slender Indian man in his standing in his doorway watching the chaos unfold.

Tempers are out of control. Tommasi throws her headset in frustration at the screen. Amir walks out to the floor.

INT. S.I.A. TOWER - LATE MORNING

Amir stands behind another controller who waved him over to his station. This is GAVIN MCMANUS, he's consumed a pot of coffee and by the look on his face he's ready for another.

MCMANUS

No. Permission to land is denied. All incoming flights must divert. (pause)Say again?

McManus flips his headset to the overhead speaker.

HARRISON (V.O.)

I repeat, we are Air Force One. We have 109 U.S. Congressmen, Senators their families and the Vice President; who became the President 30 hours ago. We must be permitted to land. Do you copy?

McManus clips a stare at Amir who in the same moment whips out his cell phone and starts dialing.

AMIR

This is Amir Vatbrhama. I am the director of Air Traffic Control at SIA. I need to speak to the Prime Minister right now. (pause) Yes, I know it's not a good time. Tell him we have been diverting all flights as directed (pause) Sir. (pause) Sir. (pause) Please wait, tell him the Vice President is on Air Force One and they are requesting to land.

McManus is watching Amir's face. Waiting for the direction.

MCMANUS

Standby Air Force One.

AMIR

Prime Minister, yes sir. I know. (pause) Understood sir. I just thought that since (pause). No clearly sir. Yes, I will take care of it sir.

Amir closes his phone and clears his throat.

AMIR

Everyone, listen up. (beat) No exceptions. Begin notifying all incoming aircraft as this is now Code M1 protocol now.

The entire room is speechless. A few controllers close their eyes and shake their heads aghast.

MCMANUS

Shit. (He switches back to AF1) Air Force One, your request has been denied. Please divert to alternate location.

INT. COCKPIT AIR FORCE ONE - LATE MORNING

Lynch snatches the radio from Harrison.

LYNCH

Who the hell is this? We need to land this plane now! This is the Vice President of the United States. I demand to speak to the Prime Minister. We must be allowed to land. We have information regarding...

MCMANUS

(Cutting him off) Mr. Vice President, I apologize but your request is denied. If you do not leave Australian Air Space immediately we will be forced to fire upon you.

Harrison, Gordon and Lynch all freeze. They know what happened to the President. They weren't bluffing.

LYNCH

What? No. You don't understand. I need to speak to the Prime Minister. We have critical information about the infection.

INT. S.I.A. TOWER - LATE MORNING

McManus eyes go wide and stares at Amir. Amir shakes his head no.

AMIR

Bouchon said they'll say anything to be allowed to land.

MCMANUS

Please acknowledge Air Force One. We will engage you if you do not leave our airspace.

Tommasi gets up from her seat and storms out of the control room.

INT. AIR FORCE ONE - LATE MORNING

Lynch sprints out of the cockpit.

LYNCH

Stumpton! (shouting) Heidi!

They both run to Lynch.

LYNCH

We need a map. (Turning toward the cockpit) Captain they'll shoot us down. Leave their airspace. CAPTAIN!

HARRISON (V.O.)

Yes sir.

INT. AIR FORCE ONE CONFERENCE ROOM - LATE AFTERNOON

They all gather into the conference room. Heidi pulls out an atlas book. She begins flipping through the local maps.

HEIDI

What exactly am I looking for?

LYNCH

A long empty road. Or better yet a farm or anything wide open and flat.

 **ACT ELEVEN**

EXT. GEORGIA HIGHWAY I-16 - AFTERNOON

Carl heads towards highway I-16. He approaches the bumper to bumper abandoned cars. The jackknifed tractor trailer is out in the middle of the road.

A military airplane emits a high decibel siren. The plane is traversing the highway route.

Carl watches as the plane glides in towards his airspace. In awe of the machine he hadn't seen in two decades he stares up the sky as it's about to approach.

Falling out of his locked gaze he sees walkers spilling out of the woods onto the highway.

Carl turns to run the other way but they are coming from all directions.

There are thousands of walkers. There is no way out. Carl hustles on top of the cars. Running and jumping from hood to trunk, hood to trunk until arriving at the trailer. He pulls himself up to safety.

The walkers engulf the highway.

Carl lays on his back and covers his face with his hat. Catching his breath.

The military plane passes overhead and disappears into the distance.

Carl has no way out. He lays on top staring at the empty sky.

 **ACT TWELVE**

INT. S.I.A. TOWER - LATE MORNING

A group of 4 armed jet planes fly by the tower. None of the hoovering airplanes test their will.

MCMANUS

Air Force One, please comply. Do you copy?

No response from Air Force One.

MCMANUS

Amir, looks like they're heading out. (Pointing at his radar screen)

Amir stands at the window watching silently. Praying they don't need to use their military force.

INT. COCKPIT AIR FORCE ONE - LATE MORNING

Harrison and Gordon pull their headsets down toward their shoulders to speak as privately as they can.

HARRISON

I know what we need to do.

Gordon staring out the window as they turn away from the airport.

GORDON

I've only done this in the simulator and that was back when I worked for Southwest.

HARRISON

Most important thing is the pressure level. If we're outside of the limit we'll lose the plane anyway so just keep steady.

Gordon nods along yes.

GORDON

You see any way out of this where we don't die or get killed?

HARRISON

Nope. Bet Southwest Airlines sounds pretty good right now.

INT. CONFERENCE ROOM AIR FORCE ONE - LATE MORNING

Everyone has piled into the conference room around the table.

STUMPTON

Jim, this is crazy.

LYNCH

OK Arlin, find me a better idea. (beat) We have about an hour left of fuel and a country that wants to shoot us down if we head back toward the airport. This! (He points to the large blue bay on the map) is our best chance.

Harrison enters the conference room to brief everyone.

HARRISON

I'll explain how we do this quickly since we don't have time to piss away.

Harrison rolls out a blueprint of Air Force One.

HARRISON

We are going to be doing a water landing. Everyone will have their life preservers on. We will be depressurizing the cabin so the impact doesn't pop the plane. Crash position is like this (crosses his arms over each other and tucks his head).

ENGINE ROARS PAST FROM MULTIPLE JET PLANES FLYBY

Air Force One is closing in on the Botany Bay.

INT. COCKPIT AIR FORCE ONE - LATE MORNING

JET PILOT (V.O.)

Air Force One. Do not attempt a water landing. We will fire upon you if the plane touches the water. Repeat. Do not attempt a water landing. Do you copy?

GORDON

(To himself) No I don't copy. Eat a bag of shit.

Gordon levels the plane off. They are about 200 feet above the water. He grabs the internal PA.

GORDON

Harry. You were right. You need to get them ready now!

INT. CONFERENCE ROOM AIR FORCE ONE - LATE AFTERNOON

HARRISON

OK. Change of plans everyone. Get your life jackets and follow me.

They all scurry to get their bright yellow jackets on and follow their Captain.

EXT. BOTANY BAY - LATE AFTERNOON

Air Force One gets closer to the surface of the water. Two jet fighter planes on the tail. The main cabin door opens and some paperwork flies out.

INT. MAIN CABIN DOOR - LATE AFTERNOON

Harrison is assisting everyone as they get ready to jump out of the plane.

HARRISON

Tuck everything in when you brace for impact. It's gonna hurt like hell.

Heidi is the first one at the main door. She's crying and holding her life vest. The plane slows down.

INT. COCKPIT - LATE AFTERNOON

Gordon is staring at the horizon line. Sweating profusely and holding the controls for dear life.

MCMANUS (V.O.)

Air Force One. I know you can hear me. Please divert. They will fire. Do not touchdown on the bay. This is not an idle threat.

GORDON

I do miss Southwest. (shouting) Get them out now Harry!

INT. AIR FORCE ONE: MAIN CABIN DOOR - LATE AFTERNOON

Harrison is half helping half pushing everyone out of the plane.

HARRISON

Jump!

One at a time but rapidly they all start jumping out of the plane into the bay.

Lynch stops and shouts at Adriana.

LYNCH

Do you have it? (Shouting over the wind)

Adriana

It's tucked away safe. (She pats her crotch)

Lynch lets out a small smile.

LYNCH

Be careful. Jump!

Lynch shoves Adriana to jump in front of him. She disappears into the water.

INT. S.I.A. TOWER - LATE AFTERNOON

MCMANUS

Sir. They are water landing on the bay.

AMIR

(Holding his face with both hands) What have we done?

INT. AIR FORCE ONE: MAIN CABIN DOOR - LATE MORNING

Lynch stands at the door about to jump. There are still a dozen people behind him.

HARRISON

Good luck, Mr. President.

Lynch scoffs as he holds his vest.

EXT. BOTANY BAY - LATE MORNING

The two jet fighter planes fire one missile each and Air Force One explodes and crashes nose first into the bay.

CUT TO:

 **ACT THIRTEEN**

EXT. TOP OF TRAILER - AFTERNOON

Carl dangles his face over the side looking at the ocean of walkers.

Another noise plane following the same route flies overhead.

Tens of thousands of walkers have taken over the highway.

CARL

(Sarcastically and softly) End of the world…

Carl eyeballs his remaining 4 arrows against thousands of walkers.

The noise plane has disappeared. Carl has no way off alive.

SQUADRON OF BOMBER PLANES APPROACHING

A squad of 8 bomber planes in a fanned out triangle formation is flying along the highway route. They begin to release a red liquid spraying from the tail assembly.

The drops fall covering the walkers and Carl. The walkers all begin to topple down like dominos.

The bomber planes fly out of sight. Leaving Carl covered in red liquid.

All the walkers have collapsed.

Carl flips the radio back on to hear the message again.

RADIO

(Two piercing-squawking beeps) Message repeats. Emergency broadcast system active. Notice: all survivors head to Cape Canaveral Florida. National distribution of antidote commencing. (static)

Carl lifts the bottom of his shirt and wipes his face clean. He closes his eyes and smiles in relief.

FADE OUT:

Piercing-squawking beeps repeat in blackness.

End of Episode 1.


End file.
